Earlier this week at the Glasgow Review of Books, Becky Varley-Winter read Jean Frémon’s Now, Now, Louison (trans. Cole Swenson) and Annie Ernaux’s The Years (trans. Alison L. Strayer) side-by-side, as books composed of “layers of stories”.
Recently, in the Washington Post, Mark Athitakis lamented the absence of a millennial novelist who could claim to be a household name. Today, at Book & Film Globe, Katharine Coldiron explains why there will never be one.
At Full Stop, Will Preston reviews Dark Constellations, a strange new novel by the Argentinian writer Pola Oloixarac (trans. Roy Kesey), which blurs the lines between different biological forms.
Writing for Full Stop, Blair Johnson attempts to pin down the place and function of silence in Ian Maleney’s Minor Monuments.
At the London Review of Books, Ange Mlinko puts her finger on the artistic sophistication of the short stories of Diane Williams.
At the New Yorker, Abhrajyoti Chakraborty argues for recognition of Yuko Tsushima’s Territory of Light (trans. Geraldine Harcourt) as an example of indirect autofiction.
Resonating with Madeleine Schwartz’s remarks on the politics of Sally Rooney, Nathan Goldman writes about the politics of Rooney’s conservative aesthetics in the Baffler.
With Sally Rooney’s Normal People arriving soon in the United States, Madeleine Schwartz in the New York Review of Books takes a close look at Rooney’s millennial politics.
At the New Yorker, Katy Waldman has a wild, exuberant review of a book of narrative theory by Jane Alison — not the sort of book to usually inspire the sort of language she applies to it.
The New Yorker‘s poetry critic, Dan Chiasson, waxes lyrical about David Baker, whose new collection Swift contains a selection of his previous work alongside a series of original elegies for his parents.
